r
place is elsewhere, and if it needs be that it seems an isolated one,
you must bear it and accept it. Nature and your craft will solve all;
live in them, bathe in them to the lips; and let nothing tempt you away
from them to measure things by the standard of the mart.

Let us go back to our sunny hillside. "It is good for us to be here,"
for this also is Holy Ground; and you must indeed be much amongst such
things if you would do stained-glass, for you will never learn all the
joy of it in a dusty shop.

"So hard to get out of London?"

But get a bicycle then;--only sit upright on it and go slow--and get
away from these bricks and mortar, to where we can see things like
these! those dandelions and daisies against the deep, green grass; the
blazing candles of the sycamore buds against the purple haze of the oak
copse; and those willows like puffs of grey smoke where the stream
winds. Did you ever? No, you never! Well--do it then!

But indeed, having stated our _principles_ of colour, the practice of
those principles and the influence of nature and of nature's hints upon
that practice are infinite, both in number and variety. The flowers of
the field and garden; butterflies, birds, and shells; the pebbles of the
shore; above all, the dry seaweeds, lying there, with the evening sun
slanting through them. These last are exceedingly like both in colour
and texture, or rather in colour and the amount of translucency, to fine
old stained-glass; so also are dead leaves. But, in short, the thing is
endless. The "wine when it is red" (or amber, as the case may be), even
the whisky and water, and whisky _without_ water, side by side, make
just those straw and ripe-corn coloured golden-yellows that are so hard
to attain in stained-glass (impossible indeed by means of yellow-stain),
and yet so much to be desired and sought after.

Will you have more hints still? Well, there are many tropical
butterflies, chiefly among the _Pierinf_, with broad spaces of yellow
dashed with one small spot or flush of vivid orange or red. Now you know
how terrible yellow and red may be made to look in a window; for you
have seen "ruby" robes in conjunction with "yellow-stain," or the still
more horrible combination where ruby has been acided off from a yellow
base. But it is a question of the actual quality of the two tints and
also of their quantity. What I have spoken of looks horrible because the
yellow is of a brassy tone, as stain so often